text:
Thierry Escaich
Credit: Guy Vivien
Viseur & Ferrari: Jeannette | Thierry Escaich & Richard Galliano
Saint-Saëns: Symphony No.3 | Berliner Philharmoniker, cond. Zubin Mehta
Escaich: Organ improvisation on themes by Bach and Brahms
Escaich: Organ Concerto No.1, third movement, excerpt | Orchestre National de Lyon | Jun Märkl
Improvisation on Le Fantome de l'Opera | Bartók Béla National Concert Hall, Budapest
Escaich: Organ Concerto No.1, cadenza | Orchestre National de Lyon | Jun Märkl
Saint-Saëns: Symphony No.3, 'Organ', excerpt | Orchestre de Paris | Paavo Järvi, conductor (BBC Proms 2013)
Tournemire: Improvisation sur le Te Deum
Organ Improvisation on a theme of J.S. Bach, excerpt
(Recorded live at the BBC Proms)
Theirry Escaich: Concerto for Orchestra, excerpt
Thierry Escaich: Double Concerto, Andante, excerpt
Renaud Capuçon, violin and Gautier Capuçon, cello | Orchestre Nationale de Lille, cond. Paul Polivnick (Accord)
Thierry Escaich: La Barque Solaire, for organ and orchestra, excerpt
Thierry Escaich, organ | Orchestre National de Lyon, cond. Jun Markl (Accord/Universal)
Thierry Escaich: Miroir D'Ombres, double concerto for violin, cello and orchestra
Renaud Capuçon, violin & Gautier Capuçon, cello | Orchestre National de Lille, cond. Paul Polivnick (Accord)
Thierry Escaich: Baroque Song
Orchestre de Bretagne, cond. Joana Carneiro (Recorded live at the Théâtre de Cornouaille)
Duruflé: Toccata for solo organ
(Callope)
Thierry Escaich: improvisation, Pantomime sur la polka Osio Bide
(Aeolus)
Composer, Organ
Thierry Escaich featured at Festival des Forêts with Horn Quartet world premiere
Festival des Forêts
Thierry Escaich is a featured artist at the 2019 Festival des Forêts, which opens on 20 June 2019. Escaich makes a number of appearances and there are performances of his music throughout the festival's duration, including the world premiere of a new work for four horns on 7 July.
During the festival Escaich leads an Academy of Composition, devoted to the composition of a string quartet movement, and on 23 June he performs as pianist alongside Quatuor Voce in his quintet for piano and strings composed in 2000, La Ronde. Also within the Festival des Forêts, Escaich's Errinerung for string orchestra is performed by the Slovak National Chamber Orchestra on 13 July and the Quatuor Tchalik perform his second string quartet, Après l'Aurore, on 15 July.
Elsewhere this month, Escaich performs recitals at the St Petersburg Stars of the White Nights Festival, Auditorium de Lyon, Lille Piano Festival and Angers Printemps des Orgues Festival.
Thierry Escaich embarks on recital tour of Asia
Lotte Concert Hall
Thierry Escaich embarks on a tour of Asia this May, performing five concerts in four countries over 10 days from 21 May 2019.
Escaich begins his tour with an organ recital at Seoul's Lotte Concert Hall on 21 May, performing his own works alongside those of Franck, Vierne and Duruflé. He then travels to Hong Kong, where he gives several masterclasses and performs in recital at Hong Kong Cultural Centre on 25 May, followed by ciné-concerts in Hangzhou Grand Theatre and Xiamen on 26 and 29 May respectively, improvising to Rupert Julian's 1925 silent film, The Phantom of the Opera.
Escaich completes his tour with a ciné-concert performance in Taiwan's Pingtung Performing Arts Center on 2 June.
Thierry Escaich makes debut at the Elbphilharmonie
Thierry Escaich makes his Elbphilharmonie debut on 9 December 2018, giving a recital on the hall's unique concert hall organ, the heart of the Elbphilharmonie Hamburg. The organ is in, next to and behind the terraced rows of seats in the hall, with some of the 4,765 pipes visible and fitted around the hall where the public can touch them.
Escaich performs a recital programme which includes his own Evocations III & IV, Elgar Organ Sonata, and Dupré Le Monde Dans L'Attente Du Sauveur, alongside Escaich's famed improvisations. Escaich then travels to Würzburg, where he performs in recital at Augustinerkirche Würzburg on 12 December.
Intermusica artists commemorate the centenary of the ending of the First World War
Marin Alsop
Susan Bickley
Martyn Brabbins
David Butt Philip
Marta Fontanals-Simmons
Anthony Gregory
Sir James MacMillan
Andrew Manze
Mark Wigglesworth
Hubert Zapiór
Several Intermusica artists were involved in events commemorating the 100th anniversary of the end of the First World War this month both on and around Armistice Day on 11 November.
Renaud Capuçon joined Yo-Yo Ma in Paris on Armistice Day itself to perform Ravel's Sonata for Violin and Cello for world leaders including President Macron, Chancellor Angela Merkel and President Trump.
Also on Armistice Day, Marin Alsop led the Orchestra of the Age of Enlightenment in a performance of Brahms' German Requiem, which broke from tradition by presenting the Requiem Mass in German rather than the usual Latin. In October, Alsop also conducted three concerts with Daniil Trifonov and the Chicago Symphony Orchestra honouring the Armistice entitled A Time for Reflection.
Andrew Manze led the combined forces of the NDR Radiophilharmonie and Royal Liverpool Philharmonic Orchestra in two performances of Britten's War Requiem, first at the Kuppelsaal Hannover on 3 November and then at Liverpool Cathedral on 10 November. Click here to watch Manze and members of the orchestras talk about the project.
In Cardiff, Mark Wigglesworth conducted the BBC National Orchestra of Wales and soloists Emma Bell, Alan Clayton and Roman Trekel in Britten's War Requeim, which interspersed the words of the Mass for the Dead with the poetry of Wilfred Owen.
On 4 November, the London Symphony Orchestra gave the London premiere of Sir James MacMillan's All the Hills and Vales Along, a new oratorio written for soloist Ian Bostridge and based on poems by Charles Hamilton Sorley who was killed at the Battle of Loos in 1915.
On 10 and 11 November, Cantori New York gave the US premiere of Thierry Escaich's oratorio "Cris", which was written after the novel by Laurent Gaudé Les Cris de Paris which explores the experience of French soldiers in the trenches. Its world premiere came in 2016 at the Théâtre de Verdun to mark the centenary of the Battle of Verdun, the longest of the war.
Hubert Zapiór joined the Albany Symphony at the Proctors Theater in Schenectady to perform War Requiem under the baton of David Allan Miller.
On 10 November Anthony Gregory and Susan Bickley joined the BBC Symphony Orchestra for a performance of Mark-Anthony Turnage's The Silver Tassie. Turnage's opera is an adapatation of Sean O'Casey's provocative 1928 play of the same name, which critiqued the damaging impact of the war.
On 9 November, Marta Fontanals-Simmons joined the Jenaer Philharmonie to perform Benjamin Ellin's One Before Zero, a one-movement oratorio commemorating the Battle of the Somme. The work weaves together first-hand accounts of the Great War in English, German and French and illustrates, both linguistically and musically, how the trauma of war affected all nations equally. Click here to read an interview with Fontanals-Simmons about the piece.
Martyn Brabbins and English National Opera perform a staged version of Britten's War Requiem directed by Kaspar Holten on 16 and 22 November. Intermusica's David Butt Philip leads the soloists for the performances.
Thierry Escaich is Composer in Residence at the Orchestre d'Auvergne
Orchestre d'Auvergne
This season Thierry Escaich is Composer in Residence with Orchestre d'Auvergne, which sees a focus on Escaich's works throughout the season, and a new commission in seasons ahead. On 17 November the orchestra give their first performance of Escaich's residency, performing his 2007 work for string orchestra Erinnerung under the baton of Roberto Fores Veses.
The orchestra performs Erinnerung again in 2019 with conductor Paul Daniel in two performances on 14 and 15 March. They also perform Escaich's L'aube exaltée on 15 May.
Thierry Escaich returns to St Petersburg for the Mariinsky International Organ Festival
Mariinsky International Organ Festival
Thierry Escaich return to the Mariinsky Orchestra and Concert Hall this month for four concerts across October and November. On 19 and 20 October, as part of the Mariinsky VI International Organ Festival, Escaich performs the Russian premiere of his third organ concert Quatre Visages de Temps with the Mariinsky Orchestra under the baton of Mischa Damev. He also gives one of his acclaimed cine-concerts as part of the festival on 23 October, improvising to Sergei Eisenstein's famous Battleship Potemkin.
Escaich then returns to St Petersburg on 14 November to perform a solo recital programme which includes Elgar Organ Sonata and Boëly Fantasie and Fugue in B-flat major.
Thierry Escaich gives US premiere of his Quatre visages du temps
American Guild of Organists National Convention
Thierry Escaich travels to Kansas this month to perform the US premiere of his third organ concerto Quatre visages du temps at the closing gala of the American Guild of Organists National Convention 2018 on 6 July at Helzberg Hall. Escaich performs the work with Kansas City Summer Festival Orchestra conducted by Matthew Shepard.
Premiered with the Orchestra Ensemble Kanazawa in Japan, July 2017, the concerto has been heralded as "a rich, dense and well-developed work, where the organ is both an orchestral instrument and a soloist in its own right." (ResMusica). Quatre visages du temps is co-commissioned by Orchestra Ensemble Kanazawa, Orchestre National de Lyon and the American Guild of Organists.
Escaich also gives a recital at Chicago's Madonna della Strada Chapel on 15 July before returning to Europe where he performs two recitals in Iceland's Hallgrímskirkja. On 21 July he performs a short lunchtime recital, and on 22 July performs a programme including Mendelssohn Organ Sonata No.1 and some of Escaich's own compositions and improvisations.
Thierry Escaich performs Saint-Saëns Symphony No.3 with the Orchestre de Opéra de Marseilles
Opéra de Marseilles
Thierry Escaich travels to Marseille this month to join the Orchestre de Opéra de Marseilles as soloist in Saint-Saëns Symphony No.3 under the baton of Jean-Claude Casadesus on 21 June 2018. Escaich opens the concert with one of his critically acclaimed improvisations, and the programme also includes Simone Porter performing Mendelssohn Violin Concerto.
Elsewhere this month Escaich appears at various French festivals including Festival d'Orgues de Namur and Festival Osez le Classique, where Escaich is composer in residence.
Thierry Escaich performs cine-concert at Royal Northern College of Music
Thierry Escaich brings his silent film improvisations to Manchester this month, improvising to F.W. Murnau's Sunrise at the Royal Northern College of Music on 8 June 2018. Murnau's landmark film was hailed by the New York Times as "a film masterpiece" on its release and depicts the tale of a man fighting the good and evil within himself as he struggles to choose between his wife and his attraction to a sophisticated woman.
Elsewhere this month Escaich's Organ Concerto No.1 is performed by the Leipzig Gewandhaus Orchestra on 14 and 15 June, conducted by Jérémie Rhorer, and Gabriel and Dania Tchalik perform the world premiere of a new work for violin and piano at Basilique St Etienne on 24 June.
Thierry Escaich performs Saint-Saëns with Emmanuel Krivine & the Orchestre National de France
Emmanuel Krivine
Orchestre National de France
Thierry Escaich returns to Maison de la Radio France on 3 May 2018 as he joins Emmanuel Krivine and the Orchestre National de France to perform Saint-Saëns Symphony No.3 'Organ' and Franck Choral No.1 in E major. The concert is part of Krivine's inaugural season as Music Director of the orchestra and will be broadcast live on France Musique. It also features Maxim Vengerov performing Tchaikovsky Violin Concerto.
Elsewhere this month Escaich's Psalmos receives its UK premiere from the BBC National Orchestra of Wales and Alexander Bloch at Hoddinot Hall during the Vale of Glamorgan Festival on 10 May. He also travels to St Petersburg to perform a ciné-concert at the Mariinsky Theatre's Stars Of The White Nights Music Festival.
Thierry Escaich is featured composer at Festival Aspects des musiques d'aujourd'hui
Festival Aspects des musiques d'aujourd'hui
Thierry Escaich is the featured composer at the Orchestre de Caen's Festival Aspects des musiques d'aujourd'hui this year. As part of the residency Escaich has composed four new pedagogic works for the Conservatoire de Caen, and he also performs a concert of piano improvisations on 22 March.
Escaich also joins various other performers for the closing concert of the festival which focuses on his chamber music, including Chorus, Tanz-Fantasie and Visions nocturnes.
Thierry Escaich performs ciné-concert at Shanghai Concert Hall
Shanghai Concert Hall
Thierry Escaich makes his Chinese debut in a cine-concert at Shanghai Concert Hall on 1 March 2018. Escaich improvises to Wu Yonggang's classic masterpiece The Goddess, which he also performed at Philharmonie de Paris earlier this month. While in Shanghai he also gives masterclasses at the Shanghai Conservatory of Music.
Eslewhere this season Escaich performs cine-concerts at De Doelen, Rotterdam, in April, and at Manchester's Royal Northern College of Music in June.
Antoine Tamestit gives world premiere of Thierry Escaich Viola Concerto with the Netherlands Radio Philharmonic Orchestra
Antoine Tamestit
Netherlands Radio Philharmonic Orchestra
Antoine Tamestit gives the world premiere of Thierry Escaich's viola concerto, La Nuit des Chants, on 17 February 2018 at Amsterdam's Concertgebouw. Tamestit is accompanied by the Netherlands Radio Philharmonic Orchestra, conducted by Stéphane Denève.
La Nuit des Chants has been written for Tamestit and is co-commissioned by NTR ZaterdagMatinee and the NDR Elbphilharmonie Orchestra.
The premiere follows the world premiere of Escaich La Piste des Chants at the 2018 Radio France Présences Festival, which this year focused on Escaich.
Thierry Escaich is featured composer at Radio France's 2018 Festival Présences
Thierry Escaich is the focus of a composer portrait throughout the 2018 Présences Festival at Radio France, which is held between 6 and 11 February 2018. Concerts include performances by the Orchestre Philharmonique de la Radio France, Orchestre National de France, Ensemble Intercontemporain and soloists, with ensembles and conductors including Thierry Escaich, Mikko Franck and André de Ridder.
The closing concert presents the world premiere of La Piste des chants, a new work for children's choir and orchestra, and Escaich also joins the Orchestre Philharmonique de la Radio France to perform as soloist in his own Organ Concerto No.2, conducted by Mikko Franck. He also performs his tone poem for organ and orchestra, La Barque Solaire, on 9 February, and performs improvisations and chamber music throughout the festival.
Other works of Escaich are also performed throughout the festival, including the European premiere of Psalmos for orchestra, Sextet, and performances of many of his earlier and more recent works: Cris, Trio Américain, Nocturne and Choral's Dream.
Thierry Escaich gives recital at Mariinsky Concert Hall
Mariinsky Concert Hall
Thierry Escaich returns to the Mariinsky Concert Hall on 30 January 2018 to perform a solo recital. Escaich performs works by Franck and Tournemire, interspersed with his own acclaimed improvisations.
Elsewhere in January Escaich performs a recital to inaugurate the refurbished Cavaillé-Coll organ at St.Pierre-St.Paul Church in Rueil-Malmaison.
Escaich then returns to Paris where he is the focus of a composer portrait throughout the 2018 Présences Festival at Radio France from 6 to 11 February.
Thierry Escaich performs European premiere of Organ Concerto No.3 with Orchestre National de Lyon
Thierry Escaich returns to the Orchestre National de Lyon this November to perform the European premiere of his third organ concerto Quatre Visages du temps. Leonard Slatkin conducts the orchestra in a performance in Auditorium de Lyon on 25 November before bringing the concerto to Escaich's home city at the Philharmonie de Paris on 26 November.
Escaich gave the world premiere of the concerto this summer in Japan, on tour with Orchestra Ensemble Kanazawa. The four movements of the work echo four periods of the history of music, developing themes and genres through each movement, before the final brusque movement returns to the original theme, distilling a feeling of eternity.
Escaich gives the US premiere of the work next July at the 2018 American Guild of Organists National Convention in Kansas City.
Thierry Escaich gives cine-concert at the Berliner Philharmonie
Thierry Escaich opens the Berliner Philharmonie's 2017/18 organ series on 8 October 2017 with a live improvisation to Hans Kyser's Luther. Kyser's 1928 historical drama presents the life of reformer Martin Luther in monumental images; Luther joining the monastery, his decisive journey to Rome, nailing his theses in Wittenberg and, finally, his excommunication.
After the film's premiere in 1928, the star-studded film was the cause of serious sectarian controversy and political protests, which led to the film biography being censored some 40 times. Escaich performs to the unabridged original version found in the depths of the German Federal Archive, which has now been extensively restored.
Escaich last performed at the Berliner Philharmonie in September 2015 performing Saint-Saëns Symphony No.3 with the Berliner Philharmoniker. Click here to watch a clip of the performance.
Thierry Escaich closes the Mariinsky International Organ Festival with Valery Gergiev
Mariinsky Theatre
Thierry Escaich, the artistic director of the Mariinsky International Organ Festival, gives the closing concert of the fifth iteration of the festival on 29 September 2017. Escaich joins the Mariinsky Orchestra and Valery Gergiev to perform Barber Toccata Festiva, part of programme that also features his own Claude: Symphonic Suite, which is based on his opera Claude.
Escaich is a regular guest at the Mariinsky Theatre and next performs at the hall in January 2018, when he gives a solo recital.
Escaich's other engagements this month have included a solo recital at the Stockholm International Organ Festival and his debut with the La Monnaie Symphony Orchestra at the BOZAR in Brussels.
Thierry Escaich makes debut with La Monnaie Symphony Orchestra
Thierry Escaich makes his debut with La Monnaie Symphony Orchestra on 17 September 2017. Escaich joins the orchestra and conductor Alain Altinoglu at the BOZAR in Brussels to perform Poulenc Litanies a la Vierge Noire and Berber Toccata Festiva.
Elsewhere this month, Escaich gives a solo recital at the Stockholm International Organ Festival, performing a programme that mixes works by Mendelssohn and Vierne with his own improvisations, which have received worldwide acclaim:
"It was Escaich the composer who shone brightest... able to rarefy the feral fecundity heard in the improvisations, trimming the excess fat and boiling it down to its most vital flavors. No. 3, based on the Passiontide chorale 'Herzliebster Jesu,' was especially intense, an anxious, guilt-ridden gnawing of the fingernails..."
"… improvisations overflowing with imagination and pages of Bach mastery, inspiring jubilation."
Thierry Escaich gives world premiere of Organ Concerto No.3 on tour in Japan
Orchestra Ensemble Kanazawa
Thierry Escaich performs the world premiere of his Organ Concerto No.3 with Orchestra Ensemble Kanazawa on a Japanese tour, beginning at Ishikawa Ongakudo on 18 July 2017. The tour, which is conducted by Michiyoshi Inoue, also visits Nasunogahara Harmony Hall (20 July), Municipal Music Hall (21 July) and Muza Kawasaki Symphony Hall on 23 July.
Escaich Organ Concerto No.3 is co-commissioned by Orchestra Ensemble Kanazawa, the American Guild of Organists and Orchestre National de Lyon and Escaich gives the European premiere in November 2017 with Leonard Slatkin and Orchestre National de Lyon.
Thierry Escaich opens 25th Stars of the White Nights Music Festival at the Mariinsky Theatre
Thierry Escaich returns to St Petersburg this month to open the Stars of the White Nights Music Festival with one of his world-famous silent film improvisations at the Mariinsky Theatre on 29 May 2017. Escaich improvises to Victor Sjöström's 1928 romantic classic The Wind. Escaich is a regular guest at the Mariinsky and is Artistic Director of their International Organ Festival, which is held each Autumn.
Escaich also gives a cine-concert in Liestal on 5 May, improvising to the 1925 silent film The Phantom of the Opera.
Further highlights for Escaich this season include the world premiere of his third organ concerto with the Orchestra Ensemble Kanazawa and appearances with the Orchestre National de Lille and the Orchestra of La Monnaie.
Thierry Escaich: Baroque Song released on Sony France
Baroque Song on Presto Classical
A compilation of the works of Thierry Escaich has been released by Sony France. On the new recording the Orchestre de l'Opéra de Lyon, conducted by Alexandre Bloch, performs Escaich Baroque Song, Clarinet Concerto, joined by soloist Paul Meyer, Erinnerung and the Symphonic Suite from his opera Claude on the new record, released on 28 April 2017.
The album has been greeted with critical acclaim:
"…Thierry Escaich affirme un beau tempérament inspiré : dans ce nouveau recueil discographique édité chez Sony classical, s'imposent à nous la vitalité suggestive, furieusement poétique grâce à un sens de l'orchestration souvent passionnant…"
"…Thierry Escaich affirms a beautifully inspired temperament: in this new collection published by Sony classical, the suggestive vitality, furiously poetic thanks to an often exciting sense of orchestration…"
Classique News, May 2017
Thierry Escaich: L'Aube Exaltée receives world premiere at the Aix-en-Provence Festival de Pâques
Thierry Escaich's new string sextet, L'Aube Exaltée, receives its world premiere at the Festival de Pâques Aix-en-Provence in Le Grand Théâtre de Provence on 18 April 2017. The new work is performed by Renaud Capuçon's Quatuor Capuçon, which is completed by Guillaume Chilemme, Marie Chilemme and Adrien La Marca.
The concert, at 8.30pm, is preceded that evening by an Escaich portrait concert at the Conservatory Darius Milhaud at 6pm. Escaich joins the Wanderer Trio and Claire-Marie Le Guay to present a varied programme of his works including Choral's Dream and Lettres mêlées.
Thierry Escaich performs Fritz Lang cine-concert at Auditorium de Lyon
Auditorium de Lyon
Thierry Escaich returns to the Auditorium de Lyon to perform a cine-concert on 12 March 2017. Escaich improvises to Fritz Lang's 1921 film Les Trois Lumieres (Der müde Tod), which is rich in special effects and explores the love story of a woman who is given three chances to save her lover.
Escaich regularly improvises to silent films, and is famed for his improvisatory skills:
"As an organist, Escaich is one of the world's finest improvisers, crafting immense and compelling works 'on the spot'"
"An appealing virtuoso, with a staggering technique…Escaich also ranks among the great French improvisers…"
Escaich next returns to the Auditorium de Lyon in April to join Orchestre National de Lyon as soloist for Poulenc's Organ Concerto
Thierry Escaich named as Composer of the Year at the Victoires de la Musique Classique Awards
Thierry Escaich has been awarded the Composer of the Year for the fourth time at the 24th annual Les Victoires de la Musique Classique Awards for his oratorio Cris. The annual French classical music awards celebrate the best of French Classical music; the other nominees in the composer category were Bruno Mantovani for String Quartet No.3 and Martin Matalon for his opera L'Ombre de Veneceslao.
Cris was premiered on 19 June 2016 by Pierre Val as speaker, Les Cris de Paris, Trio K/D/M and Nomos Cello ensemble conducted by Geoffroy Jourdain. It was written to commemorate the Battle of Verdun, one of the largest and longest battles of the First World War on the Western Front, and takes inspiration from Laurent Gaudé's novel Cris.
Thierry Escaich: World premiere recording of Psalmos released by the Cincinnati Symphony Orchestra
Cincinnati Symphony Orchestra
The world premiere recording of Thierry Escaich's Psalmos, by Louis Langrée and the Cincinnati Symphony Orchestra, has been released by Fanfare Cincinatti. Psalmos was commissioned by the Cincinnati Symphony Orchestra as part of Langrée's 2016-2017 season-long Concerto for Orchestra Project.
The recording also features world premieres of two other concertos for orchestra commissioned by the CSO: Zhou Tian's Concerto for Orchestra, and Sebastian Currier's FLEX, each of which were also recorded live at Music Hall during the premiere performances of the works in November 2015 and May 2016.
Click here to watch Escaich discussing the composition of Psalmos. The disk is now available on Amazon and iTunes.
Thierry Escaich performs in St Petersburg & Frankfurt
Frankfurt Radio Symphony Orchestra
Thierry Escaich returns to the Mariinsky Theatre on 11 January 2017 to perform a chamber concert with Denis Kashin (double bass) and Andrei Khotin (percussion), following a solo recital at Perm Philharmonie on 8 January. Escaich, Kashin and Khotin perform a programme of Fauré, Bartók, J.S. Bach, Petr Eben and Escaich.
Escaich then travels to Frankfurt, where he performs solo improvisations on Bach and Brahms at the Alte Oper on 12 and 13 January alongisde his own Concerto for Violin and Oboe performed by Lisa Batiashvili, François Leleux and the Frankfurt Radio Symphony Orchestra under the baton of Andrés Orozco-Estrada.
Thierry Escaich performs Poulenc and Saint-Saëns at the Megaron with Athens State Orchestra
Athens State Orchestra
Thierry Escaich returns to Greece this month to perform with Athens State Orchestra on 2 December 2016. Escaich joins the orchestra at the Megaron to perform a double bill of Poulenc Concerto for Organ and Saint-Saëns Symphony No.3 in C minor, which is preceded by Bach Fantasia and Fugue in B minor.
Escaich then travels to Switzerland where he gives a solo recital at Französische Kirche, Bern on 8 December. His programme includes his world famous improvisations alongside works by Alain, de Grigny and Vierne.
Thierry Escaich gives solo recital at Wiener Konzerthaus
Thierry Escaich returns to Wiener Konzerthaus to give a solo recital on 27 November 2016. The programme comprises of de Grigny, Vierne, Brahms and Elgar interspersed with Escaich's organ improvisations. Escaich is renowned for his improvisatory skills:
"His performance was so thrilling that the audience leaped up to applaud at the end."
Escaich then travels to Paris to give a cine-concert at Radio France on 28 November, for which he improvises to the silent film version of Fritz Lang's seminal Metropolis.
Thierry Escaich opens the Mariinsky Organ Festival
Thierry Escaich returns to the Mariinsky Concert Hall on 20 October 2016 to give the opening concert of the IV International Organ Festival with the Mariinsky Orchestra and Valery Gergiev. Escaich joins the orchestra to perform his Organ Concerto No.2 in a programme which also includes Haydn Keyboard Concerto No.1 and Guilmant Adagio for Organ and Orchestra.
Escaich regularly performs at the Mariinsky, most recently opening the XXIV Stars Of The White Nights Music Festival in May 2016, and returns for a recital with Denis Kashin and Andrei Khotin in January 2017.
Thierry Escaich inaugurates new organ at Basilique Notre-Dame d'Alençon
Festival Septembre Musical de l'Orne
Thierry Escaich joins the orchestra of Opéra de Rouen on 2 September 2016 for a concert inaugurating the new organ at the Basilique Notre-Dame in Alençon, in what is also the opening concert of Festival Septembre Musical de l'Orne.
Escaich performs several works for solo organ alongside his own Organ Concerto No.2 and Poulenc Organ Concerto, conducted by Pieter-Jelle de Boer.
Escaich's next concerto performance is the opening concert of the 4th International Organ Festival at the Mariinsky Theatre, where he performs his Organ Concerto No.2.
Thierry Escaich: World premiere of Salve Regina at Festival International de Musiques Sacrées
Festival International de Musiques Sacrées
Thierry Escaich's new work, Salve Regina, receives its world premiere at Festival International de Musiques Sacrées, Fribourg on 9 July 2016. Commissioned especially by the festival, Salve Regina is performed by Capella Amsterdam and conducted by Daniel Reuss at Église du Collège Saint-Michel.
Escaich also gives a recital at the festival on 3 July. He performs with students from Haute École de Musique Vaud Valais Fribourg in a programme of Escaich, Langlais and René Oberson. Escaich continues appearances at festivals this summer with a recital at Festival de Lessay in August with Christian-Pierre La Marca.
Thierry Escaich: World premiere of Psalmos with Cincinnati Symphony Orchestra
Thierry Escaich's new work, Psalmos, received its world premiere performances on 6 and 7 May 2016 at Cincinnati Music Hall with the Cincinnati Symphony Orchestra and conductor Louis Langrée. The new concerto was commissioned by the Cincinnati Symphony Orchestra as part of Louis Langrée's season-long Concerto for Orchestra Project, which also sees new concertos by Sebastian Currier and Zhou Tian.
Escaich also joined the orchestra in the second half of each concert to perform Saint-Saëns Symphony No.3 in C minor. This concert followed two solo US recitals by Escaich in San Francisco Davies Hall and Washington's Kennedy Center.
The Cincinnati Enquirer wrote that Psalmos was "a fascinating piece, well-constructed and well-played. It was sophisticated writing, with inventive working out of snippets of chorale tunes, brilliant ostinato (repeating) passages and long themes for the trombones and basses."
Of the Saint-Saëns, they commented: "Thierry Escaich's tones provided a soft, rich carpet under the lustrous sounds of the Cincinnati strings. It was serene and moving".
Thierry Escaich opens the 24th Stars of the White Nights Music Festival at the Mariinsky Theatre
Thierry Escaich returns to the Mariinsky Theatre on 26 May 2016 to open the 24th Stars of the White Nights Music Festival. Escaich gives an all-French solo recital, including works by Dupré, Duruflé and one of his own improvisations on themes by Prokofiev. Curated by Valery Gergiev, the festival's mission is "to serve as a musical gift to the city of St. Petersburg from the Mariinsky Theatre's performers and soloists'", and sees over 160 performances from 26 May to 24 July.
Escaich also performs a cine-concert as part of the Festival on 30 May, improvising to the 1927 silent film Sunrise: A Song of Two Humans.
Thierry Escaich: World premiere of Concerto for Orchestra No.2 with Cincinnati Symphony Orchestra
Cincinnati Symphony Orchestra interview with Thierry Escaich
Thierry Escaich's new work, Concerto for Orchestra No. 2, receives its world premiere performances on 6 and 7 May 2016 at Cincinnati Music Hall with the Cincinnati Symphony Orchestra and conductor Louis Langrée. The new concerto was commissioned by the Cincinnati Symphony Orchestra as part of Louis Langrée's season-long Concerto for Orchestra Project, which also sees new concertos by Sebastian Currier and Zhou Tian.
Escaich also joins the orchestra in the second half of each concert to perform Saint-Saëns Symphony No.3 in C minor. This concert follows two solo US recitals by Escaich in San Francisco and Washington.
Thierry Escaich tours to Abu Dhabi with Orchestre de Paris
Abu Dhabi Festival
Thierry Escaich embarks on tour with the Orchestre de Paris to the Abu Dhabi Festival on 15 April 2016. Escaich joins the orchestra to close a programme of Berlioz and Lalo with Saint-Saëns Symphony No.3 in C minor under the baton of Paavo Järvi in concert at the Emirates Palace Auditorium.
Escaich is a regular collaborator with the Orchestre de Paris and performed at the inauguration of the new organ at Philharmonie de Paris earlier this season.
Thierry Escaich gives solo recital & improvisation at Mariinsky Theatre
Thierry Escaich returns to the Mariinsky Theatre in St Petersburg to give a solo recital on 15 March 2016. The programme comprises of Brahms, Vierne, Stravinsky and closes with an Escaich Improvised Symphony. A regular guest at the Mariinsky, Escaich last performed in St Petersburg in November 2015 when he performed the closing concert at the International Organ Festival with the Mariinksy Orchestra and Valery Gergiev.
Following his recital in St Petersburg Escaich continues to Samara where he performs a solo recital in collaboration with Philharmonie d'Etat de Samara on 17 March before returning to France to perform a ciné-concert in Auditorium de Lyon, improvising to Les Ailes, on 20 March.
Thierry Escaich improvises to The Phantom of the Opera at the Philharmonie de Paris
Thierry Escaich performs a cine-concert at the Philharmonie de Paris on 7 February 2016, improvising to the 1925 silent film The Phantom of the Opera, which was inspired by the novel by Gaston Leroux. Earlier this season, Escaich performed at the inauguration of the new organ at Philharmonie de Paris, performing a 20 minute solo improvisation as well as Saint Saëns Symphony No.3 'Organ' in October 2015.
Escaich's performance at the Philharmonie follows recent cine-concerts in Buenos Aires and Montreal in December and January, when he also performed live improvisations to The Phantom of the Opera. He gives a further cine-concert in Lyon in March.
Thierry Escaich performs Metropolis cine-concert in Montreal
Montreal Symphony House
Thierry Escaich travels to Canada on 23 January 2016 to perform a cine-concert in Montreal Symphony House. Escaich improvises along to the silent film version of Fritz Lang's Metropolis, and recently improvised to Phantom of the Opera at Centro Cultural Kirchner in Buenos Aires in December. Escaich improvises to Phantom of the Opera again on 7 February 2016 at the Philharmonie de Paris.
Escaich's improvisatory skills have been widely praised:
"Not only does Thierry Escaich play these pieces by Duruflé with a virtuosity that combines great insight and feeling, but he also shows what a brilliant improviser he can be in the inspired glosses of the 4 Commentaires improvisés."
Thierry Escaich performs Phantom of the Opera silent film improvisation in Buenos Aires
Thierry Escaich travels to Argentina on 6 December 2015 to perform at the newly-opened Centro Cultural Kirchner in Buenos Aires. Escaich improvises along to the silent film version of Phantom of the Opera. Escaich regularly improvises along to silent film, with further performances including Metropolis in Montreal in January 2016, and in February 2016 he improvises to Phantom of the Opera again, this time at the Philharmonie de Paris.
Aside from improvising to silent film, Escaich regularly includes improvisation in his solo recital programmes for which he has been highly praised.
Thierry Escaich closes International Organ Festival with Mariinsky Orchestra and Valery Gergiev
Mariinsky Orchestra
Thierry Escaich returns to the Mariinsky Theatre in St Petersburg on 6 November 2015, when he closes the International Organ Festival with a performance of Poulenc's Organ Concerto alongside Valery Gergiev and the Mariinsky Orchestra. Escaich is a regular guest at the Mariinsky Theatre, last performing there in July as part of the White Nights Festival, and he returns there in March 2016 to give a solo recital.
Thierry Escaich returns to London for organ recital at Royal Festival Hall
Thierry Escaich returns to London in November for a recital at the Royal Festival Hall on 2 November 2015, part of Pull out all the Stops, Southbank Centre's International Organ Series. The programme for the recital includes works by Bach, Vierne, Alain and Escaich's arrangements of Liszt's Préludes, and ends with an improvisation. Escaich last performed in London during this summer's BBC Proms, giving an organ recital at the Royal Albert Hall.
Thierry Escaich: World Premiere of 'Litanies pour un Jubilé' at Strasbourg Cathedral
Litanies pour un jubilé
Thierry Escaich's new work, Litanies pour un jublié, received its world premiere performance at Strasbourg Cathedral on 30 September 2015. The piece, a 25-minute work for choir, two organs brass and percussion, was commissioned to celebrate the millennial anniversary of Strasbourg Cathedral. The piece uses fragments of Bach chorale and Gregorian chant to reflect both the Catholic and Protestant history of the Cathedral and city.
Litanies pour un jublié was performed by the Choir and the Orchestre Philharmonique de Strasbourg with musicians from the local conservatoire joined by soloists Voix de Stras', Vincent Dubois (grand orgue), Thierry Escaich (orgue de chœur) and conducted by Catherine Bolzinger.
Thierry Escaich makes Berliner Philharmoniker debut
Thierry Escaich makes his Berliner Philharmoniker debut when he performs Saint-Saëns 'Organ' Symphony in three concerts at the Berliner Philharmonie on 24, 25 and 26 September 2015. Zubin Mehta conducts a programme that is completed by Schmidt Notre Dame: Entr'acte & Carnival Music and Korngold Violin Concerto with soloist Gil Shaham.
Escaich performs Saint Saëns 'Organ' Symphony several times this season, including two performances in October with the Orchestre de Paris at the Philharmonie de Paris for the inauguration of their organ.
Later in the month, Escaich performs the world premiere of his Prologue et Litaines pour un jublié during a concert at Strasbourg Cathedral on 30 September.
Thierry Escaich gives organ recital at BBC Proms
Thierry Escaich appears at the BBC Proms with a solo organ recital on 23 August 2015 at the Royal Albert Hall, part of a wider focus on J.S. Bach at the Proms. Escaich performs a mixed programme of Bach, Brahms, Mendelssohn and two of his own works, both of which are a response to the Bach pieces also featured in the programme. Escaich will also end both halves of the concert with improvisations; the first on a romantic theme and the second on Bach themes.
Escaich is a regular performer at the Proms; in 2014 he performed Duruflé Requiem with the BBC National Orchestra of Wales, in 2013 he performed Saint-Saëns' Organ Symphony with the Orchestre de Paris and Paavo Järvi and in 2011 he gave a solo recital.
Thierry Escaich: performances & lectures at Great Mountains Music Festival in Korea
Thierry Escaich travels to South Korea to spend a week at the Great Mountains Music Festival from 27 July 2015. Escaich gives a lecture on his musical language, sound world and links to the French organ tradition on 29 July, and later that evening performs an improvisation on piano inspired by the festival's theme this year of 'French Chic'. On 31 July, Escaich attends the world premiere performance of his Sextuor for clarinet, viola, cello, double bass, piano and timpani. Commissioned by the Festival and by the French Institute in South Korea, the work is Escaich's final world premiere of a very busy and successful 2014/15 season.
Earlier in July Escaich performs in recital with pianist Eduard Kiprsky at the Mariinsky Theatre, Moscow, (3 July) and also performs an evening of improvisations at the Munich Philharmonie (5 July), a recital at Uzès Cathedral (10 July) and a concert with the Quatuor Ellipsos at the Bach en Drome des Collines Festival in Saint Donat, where Escaich performs every summer.
Thierry Escaich accepted to the Academie des Beaux Arts, Paris
On 10 June 2015, Thierry Escaich was officially accepted as a member of the Académie des Beaux Arts in their Musical Composition section, after his election by fellow members of the Académie in March 2013.
Formed in 1816, the Académie des Beaux Arts is one of the five intellectual academies of the Institut de France, comprising 57 members who represent eight different art forms. The Académie seeks to encourage artistic creation in all its forms and promote French cultural heritage, and as such regularly organise musical competitions, prizes and financial assistance for artistic projects. Escaich occupies the post left formerly occupied by French organist Jacques Taddei, who died in 2012.
As part of Escaich's official ceremony, he was presented with a bespoke sword decorated with musical shapes and symbols linked to composition and performance, both central to Escaich's musical career.
Click here for the Académie's official press release.
Thierry Escaich world premiere marks opening of new Philharmonie de Paris
On 14 January, the newly built Philharmonie de Paris opens to the public with an inaugural gala concert and the world premiere of Thierry Escaich's new Concerto for Orchestra. Paavo Järvi conducts the Orchestre de Paris for the performance; the orchestra jointly co-commissioned Escaich's Concerto for Orchestra along with the Philharmonie. The sold-out gala features an all-French programme, also including music by Dutilleux, Fauré and Ravel.
The Orchestre de Paris has frequently collaborated with Thierry Escaich, most recently performing Saint-Saëns Symphony No.3 'Organ' with Escaich at the BBC Proms, Paris Salle Pleyel and on tour in Japan in 2013.
The world premiere of Escaich's concerto for orchestra is a highlight in a season of several significant premieres – earlier in the 2014/15 season, NDR Hamburg gave the world premiere of his double concerto for Violin and Oboe, and co-commissioners New York Philharmonic perform the US premiere in April 2015 at Avery Fisher Hall, and elsewhere in the 2014/15 season Escaich's Cello Concerto was premiered by the Orchestre de l'Opéra de Rouen.
Later in January 2015, Escaich travels to Cardiff where the BBC National Orchestra of Wales performs a portrait concert dedicated to his music at BBC Hoddinott Hall. Franck Ollu conducts a programme of Escaich's Baroque Song, Miroir d'ombres (soloists Jean-Marc Phillips-Varjabédian and Xavier Phillips), Trois motets and Vertiges de la Croix.
World premiere of Thierry Escaich's Double Concerto with NDR Hamburg
On 4 December 2014, Thierry Escaich's double concerto for oboe and violin receives its world premiere performance at the Laeiszhalle in Hamburg. Alan Gilbert conducts the NDR Sinfonieorchester with soloists Lisa Batiashvili and François Leleux in a series of three performances including a regional concert in Lübeck.
Co-commissioned by the New York Philharmonic Orchestra, Escaich's double concerto receives its US premiere in April 2015 at Avery Fisher Hall with the same conductor and soloists.
Thierry Escaich: Orchestre de l'Opéra gives world premiere of Cello Concerto in Rouen
On 28 November, the Orchestre de l'Opéra de Rouen gives the world premiere performance of Thierry Escaich's Cello Concerto, with Emmanuelle Bertrand as soloist and Antony Hermus conducting.
Escaich's Cello Concerto was co-commissioned by the Orchestre de l'Opéra de Rouen, the Orchestre de Picardie and the Orchestre Symphonique de Bretagne.
Thierry Escaich performs recital at Mariinsky Theatre
On 4 March, Thierry Escaich returns to the Mariinsky Theatre in St Petersburg to give a recital with cellist Christian-Pierre la Marca. The programme comprises solo organ and cello works as well as duo works by composers including Mendelssohn, Ligeti and Bach, interspersed with Escaich's organ improvisations.
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Choir of King's College, Cambridge
David Alden
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Zack Winokur
Piano accompanist
Roger Vignoles


KPMG will be the first of the 'Big Four' firms to have a permanent representation in East London's so-called Silicon Roundabout.
KPMG have announced plans to set up a dedicated team based in London's 'Tech City' with the aim of supporting and promoting potential high growth companies in the capital. The team is expected to be in place at the end of January 2013.
Provide a conduit for accessing the knowledge and expertise of KPMG in a timely manner and on sensible commercial terms.
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Following feedback from customers downloading our walks to iPhone, iPad and iPod devices, we have produced the following advice based on their findings and suggestions.
Login to your Videowalks account on a PC to download the walk files, then transfer them to your iTunes account where they will be available from your mobile device.
The walk files can be downloaded and saved directly to your mobile device using a suitable app such as Video Downloader Super Lite which is free to use for up to 10 videos. Other similar apps are available.


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Video: Frank Ocean's Debut Solo Show
Does Sade, Beyoncé, Watch the Throne Songs, Plays Guitar Hero
By Carrie Battan
UPDATE: Frank Ocean's second solo live show, scheduled for this evening at Bowery Ballroom in New York City, has been cancelled. In a very earnestly disappointed Tumblr post, Frank says he's sick and his voice is shot-- no word on how the rest of his short solo tour will progress from here.
Frank Ocean made his live solo debut last night at the House of Blues in New Orleans, his hometown, putting on a show that was very different from the chaos of the Odd Future performances he's been part of. As Rolling Stone reports, he spent the entire show on stage alone.
At one point, toward the end of "American Wedding", he began playing plastic Guitar Hero guitar to the Eagles' "Hotel California", which is sampled in the song, while facing a giant projection of the corresponding footage from the video game.
In addition to "Swim Good", "Thinking About You", and "Novacane", he also also performed "I Miss You", the song he wrote for Beyoncé, and his hooks from Watch the Throne tracks "No Church in the Wild" and "Made in America". He also did a cover of Sade's "By Your Side". Watch footage from last night's performance, below:
"American Wedding":
"Thinking About You":
"I Miss You":
TagsVideoOdd Future Wolf Gang Kill Them AllFrank OceanOdd Future Wolf Gang Kill Them AllFrank OceanPop/R&BRap
By Evan Minsker
Sam Gendel Announces R&B-Inspired Album Cookup, Shares 112 Cover
Beyoncé Gives First Performance Since 2020 at Dubai Hotel Opening
5 Takeaways from the Coachella 2023 Lineup
By Marc Hogan
Redveil Announces Spring 2023 Tour Dates
Chris Stapleton and Babyface to Perform During Super Bowl 2023 Pregame

redpajama_set_name: RedPajamaCommonCrawl


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I didn't think it was possible to experience culture shock in your own country; I feel stupid for being so narrow minded. Despite the fact that I have traveled a lot within the US, clearly I haven't been everywhere. Last Thursday we made a rather impulsive decision to join Jesse's old Philly friends camping, caving, and hiking in West Virginia. We stayed at a campground in Seneca Rocks - it was a 13 hour drive from Boston. Even for a holiday weekend, I'm not sure what we were thinking. But I'm really glad we went.
I was in WV once before, so it was neat to go back. There was no phone reception: a great change of pace to make you realize what's important. We hiked up the mountain across from our campground - and it was hard!! I don't think I've ever sweated so much in my life. My lungs still hurt the following day. But it felt like I was finally doing something. I chickened out on climbing all the way up to the cliff edge on top (well, the park sign did say to stop, and reminded us that 15 people have died there since the 70s!) - but maybe next time.
After the hike we swam in a swimming hole beneath the mountain. There was a tiny general store and a small restaurant we ate at that night. The last night there were a few people on the camp ground tripping on who knows what - one tried to open our tent - flashlight in one hand and light-saber in the other, I'm not joking, it was creepy as hell. We were in the middle of nowhere in the best way possible. We planned on joining everyone the following day to go caving, but I had to turn back because one hour of windy dirt roads made me car sick. Next time I hope to rise above that and be more steadfast. The thing about being around outdoorsy types is it makes you inspired. It was weird to drive back into the city today - the whole trip made my life feel so much tinier and made me realize there's so much out there to do.


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An early effect of retinoic acid: cloning of an mRNA (Era-1) exhibiting rapid and protein synthesis-independent induction during teratocarcinoma stem cell differentiation
G J LaRosa and L J Gudas
PNAS January 1, 1988 85 (2) 329-333; https://doi.org/10.1073/pnas.85.2.329
G J LaRosa
L J Gudas
Vitamin A and its derivatives (retinoids) exhibit profound effects on the proliferation and differentiation of many cell types. However, the molecular mechanism by which retinoids exert these effects is unknown. Cultured murine F9 teratocarcinoma stem cells, which differentiate into nontumorigenic endoderm cells in response to retinoic acid (RA), have been used to identify genes regulated by RA. A cDNA library synthesized from F9 cells treated with RA for 8 hr has been screened with a cDNA probe enriched for sequences rapidly induced by RA, and a gene that exhibits the characteristics of a primary target for RA has been identified. This gene, early retinoic acid-1 (Era-1), encodes a 2.2- to 2.4-kilobase polyadenylylated RNA; the level of Era-1 mRNA rapidly and transiently increases up to 35-fold, depending on the concentration of exogenous RA. The increase in Era-1 mRNA is dependent on the continuous presence of exogenous RA. The RA-associated increase in Era-1 mRNA is seen even in the presence of protein synthesis inhibitors, but the increase is prevented by inhibitors of RNA synthesis such as actinomycin D. This increase in the steady-state level of Era-1 mRNA in F9 cells is a very early effect of retinoic acid on gene expression in this differentiation system.
You are going to email the following An early effect of retinoic acid: cloning of an mRNA (Era-1) exhibiting rapid and protein synthesis-independent induction during teratocarcinoma stem cell differentiation
G J LaRosa, L J Gudas
Proceedings of the National Academy of Sciences Jan 1988, 85 (2) 329-333; DOI: 10.1073/pnas.85.2.329


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This topic contains 1 reply, has 2 voices, and was last updated by Leah Toby 5 months, 3 weeks ago.
I am 37 weeks pregnant today with my second baby. Last night, I experienced false labour, I had six or seven weak contractions which kept me awake and nothing since. They were definitely contractions, not Braxton hicks.
I had this with my second at 36 weeks, they admitted me as the contractions were so strong but they stopped overnight.


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31700. Archaeology for Ancient Historians. This course is intended to act not as an introduction to Classical Archaeology but as a methods course illuminating the potential contribution of material cultural evidence to ancient historians while at the same time alerting them to the possible misapplications. Theoretical reflections on the relationship between history and archaeology will be interspersed with specific case-studies from the Graeco-Roman world. J. Hall. Winter.
34309. Byzantium and Islam. This is a lecture and discussion course on selected Byzantine-Islamic experiences from the emergence of Islam in the seventh century through the middle of the eleventh century. This is not a narrative survey. There is no single textbook. Topics will include diplomatic (political), military, economic, cultural, and religious relations that range from subtle influences and adaptations to open polemics. Readings will include modern scholarly interpretations as well as primary source readings in translation. No prerequisite. Final examination and short paper. W. Kaegi. Spring.
34609. Seminar: Tragedy and the Tragic. (=CMLT 5010X, CLAS 44609) PQ: Consent of instructor. Outside students will be accepted, with the class size limited to 15 students, as long as the majority of the students are CompLit Grad students and PhD students in Classics. Fulfills the core course requirement for CompLit students. Course readings include Greek, Roman, and early modern European tragic dramas (including Aeschylus, Sophocles, Euripides, Seneca, Shakespeare, Lope de Vega, Corneille, Racine, and Schiller) together with major works of literary criticism on tragedy and the idea of the tragic, from Plato, Aristotle, and Longinus to Sidney, Hegel, and Lacan. Each student must read at least one play in a language other than English. D. Wray. Autumn 2009.
35409. Feeding Greece: Grain production and trade from the archaic to the Hellenistic period. Grain was the major item of the ancient Greek diet. Besides, the ancient population of Greece reached a comparatively high level. But given the techniques of agriculture and the qualities of the Greek soils, the imbalance between production and consumption was permanent. This made imports of grain vital. Within the cities, policies of control of the grain market also had to be implemented. It is all the aspects connected to the issue of grain, from production to consumption in passing by the organization of the market or the food crisis and their devastating consequences that this course would like to address. From Aristotle and Demosthenes to Diodorus and Cicero, this course will draw heavily on literary sources. But epigraphic and papyrological texts will offer also a large body of evidence. Beyond the case of grain, this course will allow the students to get an insight on a whole set of economic as well as political, social and religious behaviors in the ancient Greek world. A. Bresson, Autumn.
35509. The Greek colonial world in the Archaic and Classical period. The Aegean cities, and first of all Athens, are linked the great achievements of ancient Greece. But in the Archaic and Classical periods, a new Greece came into being, scattered all over the shores of the ancient Mediterranean. This course will show how starting from very modest beginnings the societies of the new colonial world soon produced a constellation of brilliant cities that had an existence of their own. The investigation will be based on textual as well as archaeological material and the course will examine the social, political, religious and economic aspects of this dynamic. It will cover a broad geographical field, from Spain to southern Asia Minor or Egypt, and from Cyrene to the Pontos. When necessary, it will also draw on anthropology or economics, which provide powerful tools to explain such an exceptional phenomenon as the Greek colonial expansion.A. Bresson. Winter.
36209. Roman Visual Culture in the NW Provinces. E. Mayer, Spring.
36409. Romans Outside Rome. This course will study the complex history of Roman settlements and emigration outside Italy over the course of the empire. We will consider the various problems of demography, urban design, cross-cultural exchange attendant upon this history, the friction that often arose in the period of conquest between Roman settlers and recently conquered peoples, as well as the contribution that communities of mixed background ultimately made to the creation of a cosmopolitan, imperial culture. C. Ando, Spring.
36509. Jacques Derrida, Early Writings. (=GRMN 35809) Deconstruction can be conceived as both a philosophical project and a practice of reading. As a philosophical project, deconstruction inscribes itself in the tradition of the critique of metaphysics, from Nietzsche via Heidegger and Adorno to poststructuralism. As a practice of reading (and, consequently, of writing), deconstruction performs the movement of a decentering and a displacement of traditional concepts which is to challenge classical figures of identity, being, sense and others. Both the philosophical project and the practice of reading belong together: According to Derrida, 'to be an heir' means to assume responsibility for one's own reading of the texts of the metaphysical tradition; 'Reading' means to follow a significant trace which has to be produced by the act of reading itself. In this course, we will examine the exposition of the project and the practice of econstruction in Derrida's early books: "Of Grammatology", "Writing and Difference", and "Margins of Philosophy". We will not only deal with important concepts such as 'writing', 'trace' and 'différance', but also with the political and ethical commitment underlying Derrida's attack on logocentrism. All reading and discussion will be in English. S. Luedemann. Autumn.
Recommended editions: "Of Grammatology", translated by Gayatri Chakravorty Spivak, Johns Hopkins University Press, corrected paperback edition 1998. "Margins of Philosophy", translated by Alan Bass, The University of Chicago Press, paperback edition 1985. "Writing and Difference", translated by Alan Bass, The University of Chicago Press, paperback edition 1978.
37009. Theories of Narrative. (=CMLT 38300, SLAV xxxxx) This seminar will focus on critical approaches to narrative, story-telling, and discourse analysis. While the emphasis will be on the "formalist"/structuralist tradition (Shklovsky, Benveniste, Barthes, Genette), we will also discuss works by Plato, Aristotle, Bakhtin, Benjamin, Auerbach, Banfield, Silverstein, and others. Notably, most of these approaches were inspired by the analysis of modern European novel, and part of our task will be to test them against shorter narratives produced in different genres and historical periods (possible authors include Pindar, Cicero, Virgil, Pushkin, and Leskov). Boris Maslov. Winter.
37109. Lyric Genres from Classical Antiquity to Postmodernism. (=CMLT 24501/34501, SLAV xxxxx/xxxxx) Moving beyond the modern perception of lyric as a direct expression of the poet's subjectivity, this course confronts the remarkable longevity of poetic genres that have remained in use over centuries and millennia, such as the hymn, ode, pastoral, elegy, epistle, and epigram. What kept these classical genres alive for so long and, conversely, what made them serviceable to poets working in very different cultural milieus? In an effort to develop a theory and a history of Western lyric genres, we will sample from the work of many poets, including Sappho, Horace, Marvell, Hölderlin, Whitman, Mandel'shtam, Brodsky, and Milosz. While we will be working mostly with English translations, arrangements can be made with interested students to discuss the texts in the original (in Greek, Latin, German, or Russian). Boris Maslov. Spring.
37709. Caesar and his Reception. (=CLCV 27709) Julius Caesar is a captivating figure in the Western political and literary imaginary. Consummate general, admired stylist, lover of Cleopatra, winner of the civil war against Pompey, and dictator for life, Caesar seems to have it all until his assassination by some of his closest friends. Did he have the ambition to control the state from the beginning or did he react in response to provocation? Did he have a just cause for waging civil war? Was he a figure of consummate cruelty or did he do atrocious things to forward a progressive political agenda? How are we to interpret his vaunted clemency? To address these questions, we will read Julius Caesar's extant works and examine the rich variety of representations of this charismatic figure in imperial Greek and Roman literature (Appian, Plutarch, Suetonius, Lucan) and beyond (Shakespeare's Julius Caesar, Handel's Giulio Cesare, Richard Nelson's 2008 play, Conversations in Tusculum). M. Lowrie. Winter.
37909. Visual Culture of Rome and its Empire. This general survey of Roman material culture will use the archaeological evidence complementary to literary sources in order to delineate the development of Roman society from the Early Republic down to the first sacking of Rome in 410 CE. Urban planning, public monuments, political imagery, and the visual world of Roman cities, houses and tombs will be discussed in relationship to the political and social processes that shaped their formal development. E. Mayer, Winter.
38609. Greek and Roman Historiography. This course will provide a survey of the most important historical writers of the Greek and Roman world. We will read extensive selections from their work in translation, and discuss both the development of historiography as a literary genre and the development of history as a discipline in the ancient world. Finally, we will consider the implications these findings hold for our ability to use the works of Greek and Roman historical writers in our own efforts to construct narratives of the past. C. Hawkins, Spring.
40109. Seminar: History of Rhetoric. Starting with the Greek Sophists and ending up with Augustine's On Christian Doctrine, this seminar will examine the evolution of classical rhetoric in theory and practice over the space of some 800 years. Special attention will be paid to the separation of philosophy and rhetoric effected by Plato's corpus; metaphorical representations of rhetoric as feminine or other; Thucydides on oratory and the state; Aristotelian classifications in the Rhetoric; rhetoric, ethos, and influence at Rome; anti-imperial forms of expression; and Christian attitudes towards pagan rhetoric. S. Bartsch. Autumn.
40609. Democratic Athens. (=ARTH 40610, PAMW 40609) This seminar will study the interaction of art and politics in Athens during the late Archaic and Classical periods, roughly 514-323 BCE. We will lay particular emphasis on close study of particular monuments – sculpture, architecture, painting – with eye to determining the relation between style and politics. Topics will include the Parthenon and its echoes in sculpture and pottery; the role of architectural sculpture at sanctuaries like Delphi and Delos; and the relation between the visual arts and Platonic philosophy. Knowledge of French, German or an ancient language will be very helpful but is not required. Enrollment by permission of instructor. R. Neer. Winter.
43909. Stoics and Epicureans. (=CLAS 33909, CLCV 23909) This course will focus on the issue of personal freedom. The Stoics and Epicureans both offered their own answer to the question: what makes a person free? Neither group identified freedom with the absence of political constraints or with political activity. Both were concerned to preserve freedom despite external constraints. The Epicureans looked for it in the ability to achieve freedom from pain and anxiety, and in the companionship of friends. The Stoics identified it with moral integrity and raised questions of how to deal with political pressures. We will explore their answers by reading Epicurus' writings and Lucretius, Cicero's On Duties, and Epictetus' Discourses. Knowledge of Greek or Latin is not required. The course may be taken either as a graduate seminar or as an advanced undergraduate course. E. Asmis, Spring.
43910. Liberty and Equality in Ancient Political Thought. (=CLAS 33910) Please note that this course has been replaced with CLAS 43909/33909, CLCV 23909: Stoics and Epicureans.
46308. Seminar: Early Rome I. Our knowledge of Rome during the Regal Period and the Early Republic is founded largely on two categories of evidence: archaeological data, and a literary tradition that originated only in the third century BC. This two-quarter course, fulfilling the seminar requirement for graduates in history and the Department of Classics' Program in the Ancient Mediterranean World, will examine these categories of evidence and grapple with the methodological problems that they inevitably raise: how should we read these kinds of evidence, whether in isolation or in conjunction with one another, and what kinds of narratives of Rome's early development can they support? The first quarter will be devoted to guided reading and discussion while the second quarter will be reserved for writing a major research paper. Students will also be permitted to enroll for just the first quarter by arrangement with the instructors. J. Hall / C. Hawkins, Autumn.
46309. Seminar: Early Rome II. Our knowledge of Rome during the Regal Period and the Early Republic is founded largely on two categories of evidence: archaeological data, and a literary tradition that originated only in the third century BC. This two-quarter course, fulfilling the seminar requirement for graduates in history and the Department of Classics' Program in the Ancient Mediterranean World, will examine these categories of evidence and grapple with the methodological problems that they inevitably raise: how should we read these kinds of evidence, whether in isolation or in conjunction with one another, and what kinds of narratives of Rome's early development can they support? The first quarter will be devoted to guided reading and discussion while the second quarter will be reserved for writing a major research paper. Students will also be permitted to enroll for just the first quarter by arrangement with the instructors. J. Hall / C. Hawkins, Winter.
47209. Seminar: Archaic Poetics. (=CMLT 52200, SLAV xxxxx) This seminar investigates the notion of archaic (a.k.a. primitive, folk, "sentimental", mythological) poetics, originally formulated by the Romantics, but later pursued by scholars who sought to conceptualize the presumed break between "oral literatures" of traditional societies, as well as texts produced in Archaic Greece, and modern literary praxis. In this course we will be interested both in the actual lineaments of an archaic poetics and its literary reception in the 19th-20th c. Apart from relevant primary sources (Homeric epic, archaic Greek choral lyric, primitivist modernist poetry, etc.), we will discuss works by Fr. Schlegel, Veselovsky, Propp, Levi-Strauss, Bakhtin, Parry, and others. Boris Maslov. Spring.
47509. Growth and institutions in the Economy of the ancient World. The purpose of this course is to explore how far the tools of economic analysis can take us towards an understanding of the ancient world. Its spirit is one of dialogue between two disciplines, aiming toward mutual enrichment. Economic analysis (broadly construed to include the transaction costs approach as well as game theory) can help organize our knowledge and understanding of events and institutions. Conversely, the ancient world can provide a rich testing ground for economists' intuitions and hypotheses. The course will make use of any evidence from the ancient classical world ('Greece and Rome', but including all the territories that at some point were part of the ancient classical empires).
To this end, rather than slicing our subject chronologically, we propose to proceed as if we were writing a modern economic textbook in the ancient world. Thus we would directly address, in the context of the ancient world, broad economic issues such as: the presence or absence of growth, the impact of technology on development, the efficiency of markets, the role of institutions, the origin of coinage and the importance of money. Indeed, our hope for the course is to provide a solid base for writing a new book in the previously mentioned perspective.
This does not mean that the social dimension of economical phenomena will be left aside. Quite the opposite, they will be addressed in a different way: for instance, the issue of slavery or the existence of a world of freedmen will be analyzed in the framework of the transaction costs theory using the most recent works in this field.
This should be a highly innovative course. It will combine the approaches of an historian focusing on economic matters and of a professional economist. To the best of our knowledge, no such course has ever been taught (in a direct economic perspective, not in a purely historical one). The course will be pitched so as to attract participants interested in economics in general and specifically in the economy of the ancient world. We will keep technicalities (historical or economic) from hindering dialogue across disciplines, without sacrificing rigor. A. Bresson / F. Velde. Winter.
31700. Lyric and Epinician Poetry. The first half of this class traces the development of Greek lyric poetry from the fragments of the archaic poets Alcman, Sappho, Anacreon, and Alcaeus, to the sophisticated reuse of archaic themes in the Hellenistic lyrics of Theocritus. In the second half we follow the course of epinician poetry from Simonides through Pindar and Bacchylides to Callimachus. S. Nooter. Autumn.
31800. Greek Epic: Apollonius. This course is a reading of Book 3 of the Argonautica of Apollonius of Rhodes. We consider character, story world, and the presence of the poet as we endeavor to understand what has become of epic poetry in the hands of its Hellenistic inheritors. M. Payne. Winter.
31900. Greek Orators: Demosthenes, De Corona. Demosthenes' On the Crown, more than any other speech that has come to us from antiquity, has been held up as the "gold standard" of classical rhetorical prose. We read the entire Greek text with attention to the language, style, and rhetorical energy that have merited such unrestrained praise. We focus on how Demosthenes uses history, exploits Greek notions of patriotism, and develops character assassination to a high art. We also consider the extent to which the finished product may be considered one of the supreme documents of Athenian power and liberty. E. Asmis. Spring.
32700. Survey of Greek Literature I: Poetry. Greek poetry, including drama, from Homer to Callimachus. Lectures and discussions will be concerned chiefly with genre, style, meter, and rhetorical structure. There will be some close study of passages chosen to exemplify problems of interpretation or to display the major themes in each poet's work. S. Nooter. Autumn.
32800. Survey of Greek Literature II: Prose. A study of the creation of the canonical Greek prose style in the 5th and 4th centuries. Rapid reading and translation exercises. H. Dik. Winter.
32900. Survey of Greek Literature III. This class offers an introduction to the major works of ancient Greek literary theory including Plato's Ion and Republic Book 3, Aristotle's Poetics, Demetrius, On Style, Plutarch, How a Young Person Should Study Poems, Dionysius of Halicarnassus, On Literary Composition, and Longinus, On the Sublime. Attention to the aims and methods of the works as a whole, which will be read in their entirety in English, is complemented by close reading of selected passages in the original language. M. Payne. Spring.
46509. Sem. Greek Tragedy in Africa. (=ENG XXXXX) This course will trace the progress of two bursts of dramatic creativity: tragedy in fifth century Athens and adaptations of tragedy in twentieth century Africa (including South Africa, Nigeria, Ghana and Egypt). We will read and discuss genre, thematic concerns, and interpretative problems in plays by Euripides and Sophocles. In alternating weeks, we will discuss these topics and issues of cultural and postcolonial identity as they relate to adaptations written by Wole Soyinka, Athol Fugard, Ola Rotimi and others in the 1960s and 70s. All plays will be read in their original language, but students without knowledge of Greek may enroll with instructor's consent. S. Nooter. Winter.
46909. Seminar: Protection and Healing in Ancient Greek Ritual and Thought. This seminar will explore archaic and classical Greek ideas and rituals about health and disease, protection and cure, beginning with Apollo and the plague, and including discussions of pollution and purification, the worship of Asclepius, wonder-workers like Pythagoras and Empedocles, Orphism and the Platonic notion of care for the soul. C. Faraone / J. Redfield. Spring.
31700. Post-Vergilian Epic. PQ: LATN 20300 or equivalent. We will read two books of Ovid's Metamorphoses in Latin and the entire poem in translation. Discussion topics will include prosody, diction, narrative technique, epic tradition, and comparative mythology. D. Wray Autumn.
31800. Roman Historiography. Primary readings are drawn from the Tiberian books, in which Tacitus describes the consolidation of the imperial regime after the death of Augustus. Parallel accounts and secondary readings are used to help bring out the methods of selecting and ordering data and the stylistic effects that typify a Tacitean narrative. Winter.
31900. Roman Comedy. (=TAPS 28425) This course is a reading of a comic play by Plautus or Terence with discussion of original performance context and issues of genre, Roman comedy's relation to Hellenistic New Comedy, and related questions. S. Bartsch. Spring.
35000. Augustine's Confessions. Substantial selections from books 1 through 9 of the Confessions are read in Latin (and all thirteen books in English), with particular attention to Augustine's style and thought. Further readings in English provide background about the historical and religious situation of the late fourth century A.D. P. White. Spring.
35200. Medieval Latin. The course traces developments and continuities in Latin literature from the late-fourth century to the tenth. We examine new Christian literary idioms, such as hymnody, hagiography, and the theological essay, as well as reinterpretations of classical forms of poetry, epistle, biography, and historical writing. We consider the peculiarities of medieval Latin. Attention will be paid to how and where literature was cultivated. M. Allen. Autumn.
37209. Cicero's De Officiis (On Duties). (=PHIL, ##LAW, PolSC) This class will study one of the most influential works in the whole history of Western political thought, a primary foundation for modern ideas of global justice and the just war. We will understand it in the context of Cicero's thought and its background in Hellenistic philosophy, and we will also do readings in translation that show its subsequent influence. Prerequisite. To enroll for credit, you must have had five quarters of Latin or the equivalent preparation. Others may audit. The translating will always be done in the first hour of the class, so those who do not want to participate can arrive an hour late. Requirements: a midterm and a final exam, and a final paper. M. Nussbaum, Winter.
45000. Seminar: Juvenal. Close reading of selected satires with emphasis on narrative strategies and style; readings in theories of satire and examination of influential interpretations of Juvenal's corpus. R. Johnson. Winter.
46209. Seminar: Security in Augustan Literature. Since 9/11, security has become a political buzzword. Under the Bush administration, it underwent restriction to its military meaning, but more recently, commentators have been talking about it in terms of the economy, health care, and education. Richard Clark has lamented the politicization of national security, but recognizes that things have been so (at least) since Remus jumped over Romulus' walls. This course examines the interrelation of different ways of lacking care (se = sine cura) in Augustan Rome. The Republican word for our security is salus, while in Imperial Rome the abstract securitas supplements the basic meaning of safety. Augustan Rome provides an interesting moment at the hinge between Republican and Imperial ideas. Livy's stories of the secession of the plebs show that while the senatorial class restricted security to a freedom from an external threat, the plebs saw their economic interests and military duties as intertwined. For Horace, philosophical peace of mind comes at the price of involvement in running the state and anticipates the imperial understanding of securitas as a trade-off: safety requires indifference. Both Livy and Horace represent security in terms of bodies, the former in the body of a man scarred both in battle and by the whip, the latter in terms of Augustus' own body. Care and safety perhaps represent the two axes for understanding Vergil's Aeneid: the foundation of the state is necessary for basic political well-being, but comes with a burden of emotional cares. It is not at all clear that securing safety will also secure peace of mind. Thinking about the Aeneid in terms of security can help weave together the disparate concerns of the so-called optimistic and pessimistic schools in the scholarship on Vergil. We will read selections from Livy, Horace, and Vergil with these issues in mind. Theoretical readings will focus on Michel Foucault's lectures on security, governmentality, and power that are collected (mostly) in the volume, Power, edited by James D. Faubion, The New Press. M. Lowrie. Spring.
47909. Seminar: The Poetry of Death. (ARTH 43410) Rome's vast burial grounds yield rich information for social and cultural history. The rich and the poor, foreigners and locals were buried in close proximity to each other. Their tombs represent a cross-section through much of Roman society. This seminar aims at brining together evidence that is usually studied in isolation: funerary epigrams, wall-painting, sarcophagi and the tombs themselves. Viewed as a whole, tombs open a window into the Roman mind that often deviates from the standard picture painted of Roman society. The use of Greek mythology in funerary art and epigrams is more idiosyncratic than in canonical elite literature and class boundaries appear more permeable. E. Mayer, Spring.


Edited by Martard, 07 May 2018 - 05:54 PM.
Yup played two more games, 16,000+ points, 4/5 stars, still loss. This game has been created by trisomic troglodytes. I just hope that if the creators of this game ever get cancer they get treatment that is comparable to their attempt at making a fair game that rewards good play, IE they will die due to failure. And rather than editing my statements, how about you fix the game???
Myth! Those were pre-release versions. They don't count.
All, please stay on topic and let's not attack each other.
Edited by SonicPariah, 16 May 2018 - 05:56 PM.
Everyone has to be a critic. Problems solved back to the original source.
Definitely. Trying to keep peace but also trying to encourage open discussion is often a very delicate balancing act.
I agree completely. Again, thank you.
Thank you for this. It means a lot to me that our Community can acknowledge and move on.
Sry. looks like i'm late for this party, " Flying the Ga in Wowp Dead ". Going to mothball all my Ga's until they fix the problems with flying them on wowp. Not going go on about all the problems, those of us who fly them, know all too well. Simply put, unless you fly with a wingman, you will be flying under a 50% win / lose ratio. Been flying them in 2.0, and out of 10 battles, i'm lucky to win 3. Bombers offer much better ratio,& can get to targets & bases easier & faster. My ratio in bombers, are more like 7 wins out of 10. Using Ga's in must WIN battle... ( those daily's ), is frustrating & painful. You have to fly 15 missions to get 5 wins, times 3 tiers to get 4 useless tokens. What a Joke. ( I" d rather go to my dentist & have a root canal done ) .... So until they fix the GA's …...they will be collecting dust.
Edited by cobra_marksman, 20 May 2018 - 08:07 PM.
I've mothballed my GA's as well. Really miss having navel targets to attack.
Edited by HeadlockMvnky, 21 May 2018 - 03:33 PM.
Well my issue with the game overall is I can capture more sections, have more overall points etc and still lose. People say that oh you need better tactics. Whatever. If I am playing 1 other person, and I outscore them in all measurable ways, I win. I dont understand why the scoring here is so difficult for Wargaming to figure out (especially for GAA). Third graders can compare numbers and determine the higher number.
I stopped spending money here a while back. Im just looking for another game to catch my interest. I suggest everybody leave here until wargaming takes customer service and the gaming experience seriously.
Oh and another thing why the hell am I going up against 2 human opponents by myself? This coincides with another complaint. In my last battle against 2 humans by myself both my opponents had significantly higher winning percentages (1 over 70%, 1 just under 70%) mine is less than 50%. All this data and wargaming thinks a "fair" playing field is putting you on the same map.
It is such a shame, I love the flying and fighting, but the issues make it difficult to look past.


text:
Mr. Wassim Hamade	Group Chief Marketing Officer
Mr. Wassim Hamade holds a Bachelor's Degree in Marketing and a Master's in Business Administration Major in Marketing from the University of Lincoln in the United Kingdom. With over 13 years of experience as a senior Marketing professional, Mr. Wassim has experience in the IT, higher education, and healthcare industries. His experiences primarily cover strategic marketing in the MENA region, and his specialties include marketing research, digital & social media advertising, event management, creative development, and media planning. In his current capacity as Chief Marketing Officer of Fakih Medical Group, Mr. Wassim works closely with the CEO in his activities to achieve set strategic goals.
Mrs. Lama Rihana	Clinic Manager
Mrs. Lama Rihana joined Fakih IVF & Fakih Medical Center in 2015 as Quality Manager, Her experience in healthcare in addition to her management skills, organizational skills and interpersonal skills are adding values to her role as Clinic Manger. Mrs. Lama possesses over 10 years of experience in healthcare field, her experience gained in Lebanon, KSA, Qatar and UAE where she contributed to the structuring, growth and success of different healthcare facilities. Mrs. Lama holds a Bachelor degree in Nursing and Masters in Nursing Administration from Saint Joseph University in Beirut.
Mr. Hadi Daaboul	Group IT Director
Mr. Hadi Daaboul joined Fakih IVF as Software and applications manager in October 2014. Mr. Hadi has over 9 Years Experience in building and Implementing Large Scale Projects and automating electronic process flow.
As a computer science degree Holder in addition to his strong analytical, Operational and Computer Skills. He is now The Group IT Director providing leadership for the continued development of an innovative, robust, and secure information technology environment throughout the Group.
Ms. Mirna El Ali	Clinic Manager
Before joining Fakih IVF in November 2013, Ms. Mirna El-Ali held a position in Economic and Market Research for 2 years in Lebanon and had worked for 4 years as a Business Development Manager at Al Shunnar Plastic Surgery in Dubai. Her experience in the healthcare sector in addition to her strong analytical skills, attention to details and highly organized character, is a substantial added value to her role as Clinic Manager. Ms. Mirna holds a Bachelor's degree in Applied Economics from the University of Brussels in Belgium.
Dr. Amal Salama	Group Director, Insurance & Medical Claims
Dr. Amal Salama joined Fakih Medical Group as Head of Insurance and Medical Records in March, 2014. Dr. Amal has over eight years of experience as a Medical Insurance Expert and has worked with main insurance companies, such as Daman, Al Khazna and NAS, as well as large medical institutions. She has completed certificates of the Clinical Coding Steering Committee of HAAD in the Emergency Department, Home Care Visits and Outpatient Office Visits. Before joining the administrative side of healthcare, Dr. Amal completed her Medical Degree in Internal Medicine and General Surgery and Masters Degree in Pediatrics at Al Kasr Al Ainy, Cairo University.
Mr. Jishore Abic	Group Finance Director
Fakih Medical Group
Mr. Jishore Abic joined Fakih Medical Group in 2012 as the Group Finance Director. Mr. Abic is a Fellow Chartered Accountant (FCA) from the Institute of Chartered Accountants of India, a post-graduate in IFRS from Association of Chartered Certified Accountants-UK, a Certified Internal Control Auditor (CICA-US), a member of Institute of Internal Auditors (IIA-US) and also holds a Bachelor's Degree in Mathematics and a Gold medalist from Mahatma Gandhi University. He started his career as an Audit in charge in Vishnu Rajendran & Co Chartered Accountants, Kerala, India in 1999. From 2003 through 2012, he worked as Group Financial Controller for Stallion Group of Companies (Construction Sector), having branches in both Dubai and Abu Dhabi.
Mrs. Wafa El Ali	General Manager
Prior to her role as General Manager of Fakih IVF Group, Mrs. Wafa El-Ali has been the Chief Operating Officer of Fakih IVF Dubai since its early start in 2007 and has played a large role in its exponential growth from a small operation of 8 staff members to the present level of more than 140 in Dubai and more than 400 in the whole Group. She was involved in all aspects of strategy, finance, HR, marketing, and patient care. Before joining Fakih IVF she was head of the Customer Care Unit of a Gas and Electricity company in Antwerp, Belgium managing over 150 staff members and dealing with over 250,000 customers. Mrs. Wafa holds a Bachelor's degree in Applied Economics and a Masters in Politics, both from the University of Brussels in Belgium.


text:
Afterglow Home
Unlucky in Love
By Mark Chilla
Call it cruel irony, call it a bad omen, or simply laugh it off, but this year, Valentine's Day, our most Romantic holiday, is preceded by Friday the 13th, our unluckiest holiday. This week on Afterglow, we'll examine the flipside of Valentine's Day-the failures, the non-starters, and the heartbreak. We're featuring songs of love lost and love never found, sung by Rosemary Clooney, Cassandra Wilson, and Frank Sinatra.
We also turn our spotlight on Nat King Cole, who died on February 15, 1965, fifty years ago. While Cole's songs usually focus on the sunnier side of L-O-V-E, he recorded a few songs of heartbreak as well. We'll hear Cole perform Jack Segal and Marvin Fischer's classic "When Sunny Gets Blue," and Colin Romoff and Daniel J. Meehan's warning for anyone this Valentine's Day, "Look Out for Love."
Music Heard On This Episode
About Afterglow
Afterglow is a weekly program of jazz and American popular song hosted by Mark Chilla and produced by WFIU Public Media in Bloomington, Indiana. Learn More »
Mark Chilla writes and hosts Afterglow and WFIU's weekly music trivia show, Ether Game. Learn more »


Cassidy Watton to me in her own right embodies the term "Badass Woman of OCR". She is all about training hard, playing hard and not taking herself too seriously in life. Cassidy has quite the impressive OCR race resume, including a number of podium placements, and she is currently the season 3 and 4 defending champion of the Steve Austin Broken Skull Challenge. When putting this article together, it was nice to see that like all of us, Cassidy struggles with mental toughness during her training –a skill that takes many years to perfect. It's not easy being on longer tougher courses, so I found this very relatable to my own training. I was very excited when she agreed to do this interview for Mud Run Guide, and from what her friends tell me, she is not only a hard-working badass, but she is full of life and loves to have fun.
I was playing sports from the moment I could walk–basketball, softball, soccer-any sport my mom could register me in. In High school I focused on basketball but did cross country and track to stay in shape for basketball. In college my focused turned more towards fitness in general. After college I became a personal trainer and group fitness instructor while simultaneously getting involved in OCR. About two years ago I began working at Epic Hybrid Training, and my career focused turned completely towards group fitness and HIICT (High Intensity Interval Circuit Training). About this same time, I joined the Spartan Pro Team and have been a member for two years.
What was your first OCR?
How did you know you were hooked?
I got 6th place in my first Spartan Race with no idea what I was getting into. After that, I was on the podium for my next several races and knew I found something I was pretty good at so I had to see how far I could go with it.
What has been your proudest achievement on course so far?
Holding the fastest time for a 1/2 mile obstacle race on the show, Steve Austin's Broken Skull Challenge. I am the current champ of two seasons and will go back to defend my title this summer. As far as Spartan Racing, I am most proud of some of my top finishes in sprint courses (where I thrive) particularly my wins/podiums in MANY Stadium Races as well as OCR World Champs 2014 Short Course win.
What is your one bucket list race?
I haven't really thought about it but I'd like to do some Adventure Races in the future.
Is there a race you won't do?
I have no interest in running a straight up Marathon. 26 miles on pavement- no thanks.
As an athlete what challenges do you face on / off course and how do you overcome them?
As an athlete, injuries are always a challenge on and off the course. I am d ealing with an overuse injury right now and it's tough to decide when to take it easy, which races to skip, etc. I face it by trying to be as smart as possible and usually learning from my mistakes.
What's the weirdest thing you bring with you on each course?
I don't bring anything with me unless the race is going to take over 90 minutes. In that case it's just food and water.
Is there one weak point that you are constantly trying to overcome in your training?
The thing I try to always improve is my confidence and mental toughness. We all know how to train at this level, but it's all about who can put it together on race day.
Do you believe that OCR as a sport has developed into more than just a community of getting muddy?
Yes, OCR has developed into a diverse community of both elite athletes and people who race for all different sort of reasons. Like anything else, communities are always formed with like-minded people doing the same thing.
What's one little known fact you'd like to share about yourself?
At from 18-28 years old (present) I've lived in 5 states and 2 countries.
Is there a piece of advice that you have learned on course that you can give that applies to day to day life?
You always have a little more in the tank than you think you do and you'll pass out before you die. Physically and emotionally in life.
In the OCR community who inspires you and why?
Any women who are racing competitively who have birthed children!! Especially women who have more than 1 kid and are still beating me! You're awesome!
Do you feel you have natural talent to do as well as you do in events or is it due to your dedication and training?
I think it is equal parts natural talent and hard work. If I didn't have the natural talent, hard work wouldn't get me where I am. Some people can do the same exact workouts as me every day and never beat me AND I can do the same workouts as someone who is better than me and never reach their level if they have more natural talent than me. It's not the popular or encouraging answer but it is true. Hard work alone doesn't win races.
What's the scariest experience you've experienced on course?!
During the NJ beast this year around mile 10 I was completely depleted and running downhill. There is no way I was going to pull out so I thought to myself "well, if I pass out hopefully I just won't hit my head". I ended up eating some food I had with me (but did not want to eat at all) and was fine and took 3rd.
If someone wants to reach out to you on social media how can they reach you?


Sandra Ballentine gets the skinny on a new beauty trend.
Although noninvasive fat removal is one of the buzziest growth areas in the beauty industry, Martine de Richeville has been slimming jetset silhouettes for years using Remodelage, a proprietary technique she says aids in weight loss and cellulite reduction. Combining elements of traditional Chinese medicine and various massage modalities, de Richeville employs a strong figure-eight pinching motion to release blockages in the tissue, assist in lymphatic drainage, and improve circulation. Her goal? To get everything moving properly again and rid the body of toxins.
De Richeville, who has a bachelor's degree in psychology, maintains that weight is directly connected to emotional well-being. "Fat buildup is a form of protection," she says. "Liberating the circulation enhances metabolic activity and triggers weight loss." De Richeville scrutinized me as I lay nearly naked on a table. "You have a blockage in your solar plexus," she decreed, kneading me like putty. "Do you ever cry, allow yourself to just let go? Stress, anger, upset—it all ends up in the stomach." And here I thought it was all the frites and Bordeaux.
After 50 minutes of head-to-toe ministrations, I felt woozy but refreshed. And I could swear my stomach was flatter. This was probably wishful thinking—for optimal results, De Richeville recommends at least five sessions. She plans to open a Remodelage atelier in New York, but I couldn't wait for that.
After my trip, I became determined to lose the bacchanalia-related bulges. Diet, exercise, exorcism—nothing worked. I was about to resign myself to a life of Lycra when a friend tipped me off to the Manhattan-based body whisperer Jeannel Astarita.
"Having curves isn't a bad thing," says Astarita, a former interior designer. "It's about creating the best proportions." She does this with a highly customized cocktail of the latest contouring technology, like CoolSculpting (a fat-freezing procedure that is the mack daddy of noninvasive fat removal), and BTL Vanquish ME (which destroys fat cells over broad areas via carefully controlled heat). She also sprinkles in BTL Exilis Elite (a radio frequency treatment designed to reduce fat and tighten skin), ZWave Pro (a small "acoustic shock therapy" device that helps flush out dead fat cells), and Futura Fit (a machine that aims to tone muscles with ultrasound energy and electrical current). And like a lot of people in the business, she's intrigued by SculpSure, a new fat-melting laser that's being touted as a game changer.
No matter the approach, you will surely need multiple sessions, which can be tedious, not to mention expensive. But for the squeamish, it's still a more appealing option than liposuction. The machines are not, however, one size fits all. During my consultation with Astarita, she declared my fat too firm for CoolSculpting, which is more effective on pinchable fat. (I wasn't sure whether to be relieved or annoyed by this news.) "I think you're more of a Vanquish girl," she said. And, sure enough, after five 45-minute sessions (which felt kind of like being microwaved without actually being cooked), any skepticism I might have had melted away along with some of that firm fat. My abs looked slightly more defined, and my flanks a tad trimmer. I could even button my favorite jeans again.
Still, at least until I get over my lipophobia, I'm sticking with Astarita. Always available for a pep talk or text, she keeps clients on track with nutrition and fitness advice. She cautions, however, that the relationship has to be a partnership. "If we don't work together, it won't work." I silently swear to never eat frites again.
Unless, of course, I'm in Paris.